{"id":262662,"date":"2026-05-30T01:35:52","date_gmt":"2026-05-29T16:35:52","guid":{"rendered":"https:\/\/tenbizt.com\/en\/news\/uncategorized\/2026\/05\/30\/why-the-k-drama-model-is-broken-and-how-to-fix-it\/"},"modified":"2026-05-30T01:35:52","modified_gmt":"2026-05-29T16:35:52","slug":"why-the-k-drama-model-is-broken-and-how-to-fix-it","status":"publish","type":"post","link":"https:\/\/tenbizt.com\/en\/news\/entertainment\/2026\/05\/30\/why-the-k-drama-model-is-broken-and-how-to-fix-it\/","title":{"rendered":"Why the K-Drama Model is Broken and How to Fix It"},"content":{"rendered":"<p>Translation result.<\/p>\n<div id=\"_article\">\n<table align=\"center\" cellpadding=\"5\">\n<tbody>\n<tr>\n<td align=\"center\"><!-- ADOPIMGS --><img decoding=\"async\" src=\"https:\/\/cdn-union.tenbizt.com\/contents\/crawler-dev\/image\/2026\/05\/CP-2023-0080\/image-a1abb979-9cc8-419f-8479-80a292e1817d.jpeg\" width=\"620\" border=\"0\" alt=\"MostContents\" ceo yoo jin-oh id=\"s3dpop_searchImgID01\"><!-- ADOPIMGE --><\/td>\n<\/tr>\n<tr>\n<td><font color=\"#3522A4\"><b>MostContents CEO Yoo Jin-oh<\/b><\/font><\/td>\n<\/tr>\n<tr>\n<td><font color=\"#3522A4\">MostContents CEO Yoo Jin-oh<\/font><\/td>\n<\/tr>\n<tr>\n<td><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<div id=\"s3dpop_divID01\"><\/div>\n<table width=\"100%\" cellpadding=\"0\" cellspacing=\"0\" border=\"0\">\n<tbody>\n<tr>\n<td>\n<div class=\"read\"><!-- s : \uae30\uc0ac \ubcf8\ubb38 --><!-- ADOPCONS --> [TV Daily reporter Kim Han-gil] Yoo Jin-oh, CEO of MostContents, produces and distributes drama OSTs while running a content IP business, giving him experience in both the music and film industries. In a recent interview with TV Daily, he compared the structural differences between the two sectors, outlined the challenges the content market now faces, and sketched a path forward. Drawing on lessons from music\u2019s transition, he diagnosed structural limits in the video industry and proposed practical reforms needed in the age of AI.<\/p>\n<p> Yoo witnessed the digital music market\u2019s turning point in the early 2000s. As an early member of KT Music (now Genie Music), he helped build paid music services. The industry collapsed amid rampant illegal downloads, but after monthly subscription models were introduced, revenues stabilized and a viable business model emerged.<\/p>\n<p> \u201cThere was strong pushback at first, but the subscription model ultimately aligned with how people consumed music and allowed the industry to grow steadily,\u201d he said. \u201cThe critical factor was how accumulated IP produced ongoing revenue.\u201d Because music lends itself to repeat consumption, subscriptions fit naturally and, over time, copyright income built up.<\/p>\n<table cellpadding=\"5\">\n<tbody>\n<tr>\n<td align=\"center\"><!-- ADOPIMGS --><img decoding=\"async\" src=\"https:\/\/cdn-union.tenbizt.com\/contents\/crawler-dev\/image\/2026\/05\/CP-2023-0080\/image-5c70b1f1-fcce-4e81-92ee-c624c825f27a.jpeg\" border=\"0\" alt=\"TV\" daily photo><!-- ADOPIMGE --><\/td>\n<\/tr>\n<tr>\n<td><font color=\"#3522A4\">MostContents CEO Yoo Jin-oh<\/font><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p> That background shapes his view of the video business today. He argues that drama and OTT-centered markets carry high production costs but weak revenue mechanisms. \u201cVideo content has limited repeat consumption, yet it\u2019s treated like music under the same subscription model,\u201d he said. \u201cWe need to ask whether that model can sustain the industry over the long term.\u201d<\/p>\n<p> He identified the prevailing \u201cdelivery-based\u201d system as a core problem. Production companies sell content to platforms for a fixed fee, so they rarely share in upside after a hit. That deprives them of steady funds for reinvestment and leaves them bearing the mounting pressure of financing subsequent projects.<\/p>\n<p> \u201cWhen music companies own IP, they continue to earn and can take creative risks. Video lacks that system, so the industry needs a structural overhaul,\u201d he said.<\/p>\n<table cellpadding=\"5\">\n<tbody>\n<tr>\n<td align=\"center\"><!-- ADOPIMGS --><img decoding=\"async\" src=\"https:\/\/cdn-union.tenbizt.com\/contents\/crawler-dev\/image\/2026\/05\/CP-2023-0080\/image-df05946a-4ced-464b-a963-5a0bcac5c0ca.jpeg\" border=\"0\" alt=\"TV\" daily photo><!-- ADOPIMGE --><\/td>\n<\/tr>\n<tr>\n<td><font color=\"#3522A4\">MostContents CEO Yoo Jin-oh<\/font><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p> To remedy this, he proposed a phased monetization approach: launch with transactional pricing that reflects a title\u2019s value, then transition to subscription access after a set period. \u201cWe should study how webtoons eased consumer resistance during monetization with tactics like \u2018wait-and-read-for-free,\u2019\u201d he said.<\/p>\n<p> He also stressed IP expansion. MostContents has moved beyond OST production into concerts, overseas remakes, and film concerts. By working on OSTs for globally recognized dramas such as Goblin, Descendants of the Sun, and Crash Landing on You, the company has shown how musical IP can be extended. Film concerts that pair scenes with live music, in particular, lengthen a property\u2019s shelf life and create new revenue streams.<\/p>\n<p> \u201cOverseas, performances based on film or animation IP have become their own industry,\u201d he said. \u201cOur content makers should pursue more post-production uses.\u201d<\/p>\n<table cellpadding=\"5\">\n<tbody>\n<tr>\n<td align=\"center\"><!-- ADOPIMGS --><img decoding=\"async\" src=\"https:\/\/cdn-union.tenbizt.com\/contents\/crawler-dev\/image\/2026\/05\/CP-2023-0080\/image-750b01d2-6a62-4122-af1e-18293c58c70e.jpeg\" border=\"0\" alt=\"TV\" daily photo><!-- ADOPIMGE --><\/td>\n<\/tr>\n<tr>\n<td><font color=\"#3522A4\">MostContents CEO Yoo Jin-oh<\/font><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p> He also weighed in on AI-driven changes. While he agrees AI can improve production efficiency, he warned it could unsettle industry foundations. Beyond cost savings and faster workflows, the crucial issue is how finished content is distributed and turned into revenue.<\/p>\n<p> \u201cNo matter how advanced the technology, the industry can\u2019t endure without a sound revenue model,\u201d he said. \u201cAI operates on top of the existing system, so unless we redesign the underlying architecture, AI\u2019s impact will be limited.\u201d<\/p>\n<p> As AI production tools lower costs, defining content value and redesigning revenue-sharing frameworks has become a central industry challenge.<\/p>\n<table cellpadding=\"5\">\n<tbody>\n<tr>\n<td align=\"center\"><!-- ADOPIMGS --><img decoding=\"async\" src=\"https:\/\/cdn-union.tenbizt.com\/contents\/crawler-dev\/image\/2026\/05\/CP-2023-0080\/image-cd20d142-75ab-4534-a0c0-12658a26b501.jpeg\" border=\"0\" alt=\"TV\" daily photo><!-- ADOPIMGE --><\/td>\n<\/tr>\n<tr>\n<td><font color=\"#3522A4\">MostContents CEO Yoo Jin-oh<\/font><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p> He recalled that the music industry survived its clash with IT platforms through negotiation and institutionalization, creating a new order. \u201cThe video industry is going through a similar process,\u201d he said. \u201cNow is a crucial moment to redesign the system.\u201d<\/p>\n<p> He summarized the content industry\u2019s sustainability in one phrase: structural design. \u201cCreating great content isn\u2019t enough. How content is distributed and converted into revenue matters more,\u201d he said. \u201cOnly when IP accumulates and circulates will the industry sustain long-term growth.\u201d<\/p>\n<p> Ultimately, success isn\u2019t just about how well something is made; it\u2019s about how long it can be preserved and expanded.<\/p>\n<p> [TV Daily reporter Kim Han-gil news@tvdaily.co.kr \/ Photo by Ahn Seong-hoo]<!-- ADOPCONE --><!-- e : \uae30\uc0ac \ubcf8\ubb38 -->\n     <\/div>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<table width=\"100%\">\n<tbody>\n<tr>\n<td>Submit a tip news@tvdaily.co.kr&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<span><b><font color=\"#447C95\">See more articles by Kim Han-gil<\/font><\/b><\/span><\/td>\n<td align=\"right\"><span><\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>Yoo Jin-oh of Most Contents discusses structural issues in the music and video industries, proposing new revenue models for sustainability.<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"_thumbnail_url":"https:\/\/cdn-union.tenbizt.com\/contents\/crawler-dev\/thumbnail\/2026\/05\/CP-2023-0080\/thumb-5807e47c-b140-4b09-9592-a0bf9830969a.jpg","footnotes":""},"categories":[278102],"tags":[],"class_list":["post-262662","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-entertainment"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v24.5 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Why the K-Drama Model is Broken and How to Fix It<\/title>\n<meta name=\"description\" content=\"Yoo Jin-oh of Most Contents discusses structural issues in the music and video industries, proposing new revenue models for sustainability.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, 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